Vintage synthesizer demo track by RetroSound
“Back In 1972″
all synthesizer sounds: ARP Odyssey Mk3 analog synthesizer
recording: multi-tracking without midi
fx: a bit reverb and delay
He used the internal LFO with the sample/hold modul for triggering the sequence. for the sounds: FM, Osc-Sync and Ringmodulator.
This is a demo of the Metasonix R-51 (Distortion/VCA), R-53 (Pulser/Ringmod) and R-55 (Thyratron VCO) synthesizer modules, which all use tubes. There are two R-51s, one R-53 and two R-55s being used in this patch.
The R-System is being controlled and processed by a Meng Qi Music ‘Cocoquantus’ looping delay/sampler + ribbon and antenna controller. The output of the Cocoquantus is being processed by a Knas Ekdahl Moisturizer spring reverb. And the Moisturizer’s output is being processed by a Wavemakers 255R dual phase shifter (which is switched on and off throughout the video, so that you can hear how the Metasonix modules sound by themselves without the phaser effect added).
Quick soundcheck of the Sub Phatty from Moog. No EQ, compression or external FX.
“This thing is pretty freaky ”
FL Studio Groove is a touch-based music production & performance application. With a 10 pad sample-based drum machine and 5 polyphonic synth channels you get all you need need to compose, arrange, edit, mix and perform professional quality music.
Make complete songs, play & program synthesizers, play drums, add effects, edit musical sequences.
- Windows 8 Touch | Music Production Application
- Sequence Drums
- Powerful piano roll for melodic work
- Flexible mixer with production & performance effects
- Two-tire piano keyboard optimized for touch
- 10 drumpads with dual-sample layering
- FX: Glitch, Flanger/Phaser, Delay, Filters, EQ, Bit-crusher & more
- Five 2-oscillator synthesizer channels
- Create basses, leads, pads or experimental sounds
- Record automation of almost any parameter.
This Bitwig Studio beta video demonstrates the unified modulation system in Bitwig Studio. Whether you’re working with macro controls, setting up modulation devices (such as LFOs or envelope followers controlling plug-ins), or just assigning velocity to the filter in our virtual analog synth—assignments are all made using the same powerful but easy-to-use concept.
For more information visit: www.bitwig.com
The Z1 is like a polyphonic Prophecy housed in a full sized and featured Trinity workstation-like casing! It does all the analog sounds and more. This is a great analog modeling synth with 12-voice polyphony, thirteen waveforms, four LFOs, two resonant filters, two effects units and more. The ability to create unique sounds is endless. The factory patches could use some help, but overall the sound is very nice! It has a fully polyphonic arpeggiator that blows all others away. It has five preset arpeggio patterns and fifteen user patterns. Unfortunately there is no on-board sequencer. There is incredible real-time control available with knobs to control the two resonant filters, and a touch controlled ‘XY’ pad for tweaking patches in real-time.
Background video description:
Synthesizer demo track by RetroSound.de
all synthesizer sounds: KORG Z1 MOSS Synthesizer from the year 1997
I use own sounds and factory sounds.
recording: multi-tracking without midi
fx: reverb and delay
I use the internal programmable arpeggiator in this demo track.
ModeMachines SID quick demo
Googlish product description below:
Its logical structure and ease of use delivers pleasure at the first touch already. The proven sequencer allows to program beats and Patters in seconds. Three buttons control the expression of each main Feauteres patches to obtain immediate results. But do not be fooled by its simplicity: The supplied SID STUDIO SOFTWARE lets you control every parameter, which is located below surface! Times and designe your own patches with instant feedback from the SID. It is also worthwhile to try out the new NERD-PANEL: a very powerful and interactive design that allows each pin of the SID CHIPS be addressed separately.
An implementation of the Bob Borries modulation trick to mimic PWM on a Miniwave.
Simply put, an LFO (or EG, or other modulation source) sweeps the cutoff on a ramp (rising sawtooth) wave being fed into a highpass filter. The output of the highpass HPF drives the Miniwave input.
Changing the waveshape of the ramp changes the spectral content of the Miniwave, lending a PWM style tonal sweep.
Not everything sounds great, but they beauty of it is that one can go from subtle sweeps to nails-on-a-chalkboard grind with relatively little effort.
The Syrinx is one of the few analog synths to come out of the Netherlands. It’s a monophonic lead synth in the same category as the Minimoog, Arp Odyssey, and Roland SH-7. But the Syrinx is pretty rare, only a few hundred were produced from 1983 through 1984.
The Syrinx uses seven Curtis chips for its VCO’s, VCF’s and envelopes. It has two analog VCO’s, a sub-oscillator and three flexible voltage-controlled filters. You can switch between the three filters for either a 24 dB lowpass, or two bandpass filters, and they can be patched in four different ways (series/parallel). Additionally the Syrinx has two LFO’s, FM, PWM, osc-sync, 2 ADSR envelopes, ring modulation, portamento and a cool touch-pad that can control various parameters from pitch-bending to the LFO rate. The Syrinx’s Mixer section lets you adjust levels for each VCO and the sub-osc as well as the Noise Generator and Ring Modulator. Unfortunately, being released around 1983, the Syrinx just missed out on MIDI and patch memory options. They came in a variety of flavors over the years. Most were black, but a handful were blue, red, or white. Some later models had no keyboard and were mounted in a flight-case, and a mid-nineties re-issue was a very rare rack-mount version with MIDI and external audio in.
Leap Motion and Geco Test
Left/Right, Up/Down motion was mapped to CC 1, 20 and 21